Malosso Hall

The Hall - which takes its name directly from the artist who frescoed it - is divided into three parts with frescoes that have the classical myth as their theme. The room is then completed in the southern part by landscape views by the Flemish painter Jan Sons.

Here, for instance, there is the fresco depicting Jupiter crowning Ariadne.

The west wall depicts Jupiter crowning Ariadne, accompanied by Bacchus, a cherub and a faun. Vibrant red curtains reveal the scene: Bacchus and Ariadne can be glimpsed on a seascape to the right. Ariadne, abandoned by Theseus on the island of Naxos marries Bacchus who gives her a crown of stars through Jupiter. The decoration of the diadem later became the constellation of Hyades.

Jupiter, also highlighted by the lightning bolts he holds in his right hand and the eagle - his symbol - is about to crown Ariadne.

Both the gazes of Bacchus and Ariadne are aimed at the figure of Jupiter, almost like being ready for the coronation.

The north wall depicts The Sacrifice of Alcesti - wife of Admetus - symbol of marital happiness. Alcesti is subjected to a harsh trial during her marriage: her husband Admetus is destined to die young because of a disease and his only hope lies in the sacrifice of a member of his family.Alcesti, thus, sacrifices herself and the risen, healed Admetus grieves over her body. Hercules, however, witness of the heartwrenching story, decides to reward the virtue of Alcesti: he takes her away from the underworld and reunites her with her husband and children. The scene painted by Malosso is characterized by a general excitement, like an intense theatrical drama.

The nude of the fresco - probably depicting Hercules – encompasses the strong reference to the classical Greco-Roman statuary, also in line with the world of myth depicted in the frescoes of the room.

The resignation and acceptance of the sacrifice can be seen in the face of the main subject of the fresco.

The east wall depicts Circe restoring the human form to the companions of Ulysses: as for the other two walls, the scene takes place behind a curtain formed by large red drapes. Ulysses, informed by Eurylochus of what Circe had done to his traveling companions, reaches the island of Ea to dissuade the sorceress: she tries to poison the hero too but, thanks to a small trick, he resists her spell, thus managing to save even his companions, transformed into pigs shortly before.

Some calm attitudes of Ulysses' companions contrast with the amazement of the figure in the center after regaining his human form.

The nuance between the human body and the pig's head combined with the shading of the body on the left arm draws our attention.

Circe's profile recalls the ancient classical profiles.

From the stylistic point of view, Malosso insists a lot on the details and the sumptuous decorations in Circe's clothes.

The landscapes of Jan Sons: the room also includes something foreign, namely the landscape views of Jan Sons.

Like the Nordic art of Flanders, the great importance of detail is also visible here in this earth-colored composition included in these red drapes that open the scene to the public.